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FAREWELL APPEARANCE

Written by Robert Hamilton / Directed by Chuck Bowman

TEASER
FADE IN:
INT. HOMESTEAD - DAY ONE
CLOSE ON KATIE -- fidgeting in her high chair. MIKE's hands come into frame and lift Katie --
MIKE
It's time to go, little one.
BRIAN enters from outside. He's rather subdued, watches her fussing over Katie.
BRIAN
Got the wagon hitched.
Mike gives him a quick, nervous smile, slips into her coat, picks up Katie.
BRIAN
It'll be good to have Sully home.
MIKE
Yes, it will.
Mike gathers her resolve and they head out the door.

EXT. TOWN STREET - DAY ONE
Mike drives the wagon into town, with Brian next to her holding Katie, and WOLF (in the back). They drive past the station where passengers disembark from the train. Mike reins for LOREN, helping the REVEREND cross the street (with his stick).
MIKE
Good morning, Reverend. It's wonderful to see you moving about.
The Reverend waves a hand in greeting. Mike is about to drive on when she hears:
MAN'S VOICE (O.S.)
Michaela -- ?
She turns, off-guard. The voice is vaguely familiar, but...
MIKE
(disbelieving)
Uncle Teddy -- ?
Slowly recognizing him...a smile breaking over her face...

+MIKE'S POV (LOOKING TOWARD STATION)
A dapper, distinguished gentleman in cutaway and beaver top hat approaches, a suitcase in each hand. He is THEODORE QUINN, late 50's, her paternal uncle.
MIKE (O.S.)
(overjoyed)
Uncle Teddy!

+RESUME
Mike hands the reins to Brian and jumps down, flying toward Theodore as he sets down his suitcases and sweeps her into a warm bear-hug:
THEODORE
My dear Michaela.
When he releases her, they take a beat to fondly feast on the sight of each other.
MIKE
What a wonderful surprise!...why didn't you tell me -- ?
THEODORE
(beaming broadly)
I didn't know myself. I was on my way to San Francisco, and when I saw how near I was to Colorado Springs, I had to see you --
(turns toward wagon)
-- and meet this family of yours. This must be...
MIKE
(taking Katie from Brian)
Yes, this is Katie...
THEODORE
(perfunctory)
Sweet baby, yes -- and...
-- as he moves to the wagon and peers directly up at Brian, who is holding the reins.
THEODORE
...Brian. I couldn't wait to meet you after all the wonderful things your mother has written about you.
BRIAN
(pleased)
She has?
THEODORE
(glowing)
She has indeed.
(turns to Mike)
Now where is this Sully?
MIKE
We were just on our way to meet him.
THEODORE
Then I'll join you -- may I?
MIKE
(caught off-guard)
Why -- why yes, of course. We can leave the wagon at the livery.
Theodore puts his suitcases into the back of the wagon. Brian guides the horses toward the livery.
Mike (carrying Katie) and Theodore stroll slowly ahead.
MIKE
Now that you're here, you will stay awhile?
THEODORE
For a few days. I'm about to begin a concert tour.
BRIAN
(catching up)
Did ya really play for the King of Norway, Uncle Teddy?
MIKE
(correcting him)
Uncle Theodore. I'm the only one allowed to call him 'Uncle Teddy'.
THEODORE
(with a twinkle)
Well, perhaps I can make an exception in this case, what do you say, Michaela?
Mike smiles affectionately at him, nods. Her uncle brings out the girl in her, in a way we haven't seen before.
BRIAN
Did ya know I'm taking piano lessons?
THEODORE
(impressed)
Piano lessons? Here? Well, you must play for me.
BRIAN
Maybe you could give me a few lessons.
Theodore beams benevolently, lays a hand on Brian's shoulder. They have come to a stop in front of:

EXT. JAIL - DAY ONE
Mike looks distractedly toward the jailhouse door.
MIKE
(thinking fast)
Brian, perhaps you would like to take Uncle Teddy to Grace's...
BRIAN
But what about meetin' Sully?
MIKE
I'll bring him over to Grace's.
THEODORE
(confused)
Where is Sully?
BRIAN
Right in here -- c'mon, I'll show ya.
MIKE
But, I think...
Too late. Brian eagerly pushes open the door --

INT. JAIL - DAY ONE
-- to reveal Sully, behind bars. Matthew picks up his keys, nods to Brian, Mike with Katie, and Theodore in the doorway.
MATTHEW
Mornin'.
MIKE
Matthew, this is my Uncle Theodore.
MATTHEW
Glad to meetcha.
But Theodore's attention is on Sully in the cell. Matthew fits a key into the lock as Theodore looks to Mike, bewildered --
MIKE
Sully was incarcerated for an action he took as a matter of principle.
THEODORE
(approvingly)
Ah, civil disobedience? Good man. I'm a pacifist myself.
The key turns. The door swings open. Sully and Matthew exchange an awkward look.
SULLY
That ain't why I'm in jail. I'm no pacifist.
Theodore glances uncertainly at Mike.
MATTHEW
You're free to go.
Sully steps out of the cell. The door CLANKS shut.
SULLY
Be seein' ya, Matthew...
MATTHEW
Oh, uh, don't forget this...
He picks up -- Sully's TOMAHAWK. Sully takes it, slips it securely into his belt as Brian flings himself into Sully's arms.
BRIAN
I missed ya, Pa.
SULLY
(choked up)
Missed you, too.
(gazes at Mike)
All of you.
Theodore watches the reunion of father and son, vaguely uneasy. Wishing she'd had time to prepare her uncle, Mike strives for an air of proper gentility to put him at ease:
MIKE
Uncle Teddy, may I present my husband, Byron Sully. Sully, this is my godfather, Theodore Quinn.
SULLY
Pleased to meetcha.
THEODORE
No, the pleasure is all mine.
As they shake hands. Mike clasps their hands in both her own, anxious to put the awkward circumstances behind them:
MIKE
I've looked forward to this moment for so long -- I know you're going to be great friends.
She smiles eagerly from one to the other as we
FADE OUT
END OF TEASER

ACT ONE
FADE IN:

EXT. GRACE'S CAFE - DAY ONE
Mike, Sully, Brian, and Uncle Theodore (Katie in her carriage) linger over lunch. (HANK and HORACE at the next table.) Theodore regales Sully and Brian with a story of Mike as a little girl.
THEODORE
She'd be sitting with a book in her lap at the top of the stairs above the parlor, pretending to read. But all the while she was listening to us grownups talk about the immorality of slavery. Every night, she sat one step lower, until finally, there she was in the parlor with us.
Mike suppresses a grin as Sully looks at her, amused.
SULLY
Not too shy 'bout expressin' her opinion?
HANK (O.S.)
I'll say!
Theodore turns to see

+ANGLE ON NEXT TABLE
Hank and Horace, eavesdropping and now butting in:
HANK
Did Michaela ever get in trouble?

+RESUME
MIKE
Now wait just a minute...
THEODORE
Well, there was one time...
BRIAN
Really -- ?
MIKE
(protesting)
Uncle Teddy -- !
THEODORE
(playing the drama)
...when she was abducted by slave traders.
Mike looks at him, mystified.
BRIAN
Ya mean, kidnapped?
THEODORE
That's what we all thought. She vanished. All of Beacon Hill was in an uproar. Her poor mother even called out the fire brigade. And do you know where they found her?
BRIAN
(enjoying this)
Where?
MIKE
(laughing)
I don't remember any of this.
THEODORE
At the hospital where her father was head of surgery, sitting in the front row of the operating theatre with the medical students. Can you guess what she said when they found her?
BRIAN
(knows his Ma)
That she was gonna be a doctor when she grew up?
THEODORE
You are very perceptive, young man.
MIKE
(to Brian)
Don't listen to a word of this. He'd have you think I was rude and forward and disrespectful.
They all laugh.
MIKE
It was Carleton who put me up to things. Do you remember the time you found us tuning your piano?
Theodore, uncomfortable, suddenly quiets.
BRIAN
Who's Carleton?
MIKE
My cousin, Uncle Teddy's son. He was the handsomest boy in all of Boston and...
THEODORE
(interrupting)
Now, now, I think we've bored them long enough with our 'remember when' talk.
MIKE
...and I had a hopeless crush on him. You were to give a recital for the Governor, remember, Uncle Teddy? -- and Carleton...
THEODORE
(abruptly rising)
Speaking of recitals - I will require a place to practice while I'm here.
Mike and Sully exchange a look of surprise at his abrupt turn. As they get to their feet:
THEODORE
You do have a piano at home?
MIKE
Well, no...
From the next table, Hank speaks up.
HANK
Got a real nice one at the Gold Nugget. What can ya play?
THEODORE
Well -- everything. Chopin, Mendelssohn, Beethoven....

+HORACE AND HANK
draw a blank. Never heard of 'em.
MIKE
I'm sure the Reverend won't mind if we use the church piano.

EXT. CHURCH - DAY ONE
The Reverend comes out of the church carrying a valise, gingerly feeling his way with his walking stick. Loren follows with a heavy box of books. They load them into a wagon next to the Reverend's other personal belongings and a few pieces of furniture. The Reverend runs his hands lovingly over the books.
LOREN
Sure ya wanna take all those?
REVEREND
Havin' 'em with me'll be a comfort. Did you get the clock from the bureau?
LOREN
Already got one at the store.
REVEREND
Please -- I'd like my clock.
LOREN
Aw, all right.
He heads back into the church. Not realizing he's gone, the Reverend goes on to explain:
REVEREND
It belonged to my mother. I remember as a child, waking in the night and hearing the chimes....
MIKE (O.S.)
Reverend -- ?
REVEREND
(turning in direction of her voice)
Michaela?
Mike walks up with Brian and Theodore. She looks around, puzzled.
BRIAN
Hey, Reverend.
REVEREND
Brian.
MIKE
Are you -- alone?
REVEREND
Loren's here --
(vague wave of hand)
-- somewhere.
MIKE
I've brought my uncle, Theodore Quinn.
THEODORE
Pleased to meet you.
MIKE
He needs a piano on which to practice while he's in town, and I wondered if he might use the one in the church.
REVEREND
Why, of course, that would be fine. Nice to know it's gettin' some use.
BRIAN
(re: loaded wagon)
You movin'?
REVEREND
Just takin' some a my personal belongin's over to Loren's for the time bein'. I'm stayin' in Dorothy's old room for now.
Loren approaches, carrying the clock.
MIKE
(to Theodore)
And this is Mr. Bray. He owns the general mercantile. Loren, my Uncle Theodore.
THEODORE
How do you do.
LOREN
Oh, Elizabeth's brother?
MIKE
No, my father's.
LOREN
(disappointed)
Oh.
BRIAN
Piano's this way --
Brian leads the way to the church as we hear PRELAP of virtuoso PIANO MUSIC, OVER -- taking us to:

INT. CHURCH - DAY ONE
Theodore sits at the piano, finishing a showy Chopin Ballade, with a flourish. Mike and Brian listen raptly. As the last note dies away, they both applaud. He nods slightly, then pulls another chair to the piano.
THEODORE
(patting chair)
Come, Michaela.
He plays some introductory chords, and a wave of nostalgia hits Mike.
THEODORE
(eyes twinkling)
For old time's sake.
MIKE
(hesitating)
It's been awhile...
He pats the chair again, indulgently. Obedient, smiling, she takes her place and together they begin to play a simple but charming duet. She's a little rusty.
MIKE
(to Brian, as she plays)
This was the first piece Uncle Teddy taught me to play.
Brian is enchanted. He comes to stand at the piano, watching their hands. When they finish --
BRIAN
(to Theodore)
Will ya teach me that?
THEODORE
From what I hear, your playing is already well beyond this.
OFF Brian, basking in Theodore's praise --

INT. GENERAL STORE - DAY ONE
Loren enters with the clock and the box of books, and carries them through the store toward the stairs...

INT. DOROTHY'S ROOM - DAY ONE (CONTINUOUS)
...and into the room, which will now be the Reverend's. The Reverend is trying to unpack, but having a hard time of it. A couple stray socks drop from a stack of clothes he's moving from the valise to the dresser.
Loren sets the box on the bed, quickly bends to pick up the socks. He puts them back on the pile as another pair falls. Loren picks them up, too.
The Reverend dumps the clothes into a drawer in an untidy mess. Loren looks around for a place to put the clock.
LOREN
Want your clock on the dresser?
REVEREND
(blankly)
Uh, sure, that will be fine.
Loren puts down the clock and watches, feeling helpless.
LOREN
If ya need anything...
REVEREND
(determined to make the best of it)
No, I'm fine.

EXT. CLINIC - DAY ONE
Sully gets on his horse to leave when Matthew stops him.
MATTHEW (O.S.)
Hey, Sully -- !
Sully turns to see Matthew approaching with a telegram.
MATTHEW
Horace was lookin' for ya. This just come in.
Sully takes the telegram, unfolds it, reads it. It's not good news.
MATTHEW
Who's it from?
SULLY
Welland Smith.
MATTHEW
That the guy that wanted ya for the Yellowstone job?
Sully nods, reading the brief message again. Matthew, very curious, tries to sneak a sideways glance at it.
MATTHEW
What's he want?
SULLY
The railroad bought right-a-way through the Red Rocks land.
MATTHEW
(frowning)
What's he plannin' to do 'bout it?
SULLY
Nothin'.
Matthew gives him a strange look, waits for Sully to go on. But Sully's said all he means to, at least to Matthew.
MATTHEW
What're you plannin' to do 'bout it?
Sully folds the telegram carefully and puts it in his pocket, gives Matthew a look, and rides off -- leaving Matthew looking after him, uncomfortable with the new realities of their relationship.

INT. HOMESTEAD - COLLEEN'S ROOM - DAY ONE
Theodore is unpacking. There's a TAP on the door and Mike enters, holding an early photograph.
MIKE
I knew I had a photograph of Carleton somewhere. It was tucked into a book.
She holds it out. He glances at it, quickly turns away.
THEODORE
What a beautiful home you created here on the frontier.
MIKE
Sully built it with his own hands.
THEODORE
He's a fine craftsman. And your special touch makes it a home.
He takes a jacket from the suitcase, hangs it up. Mike sets the photograph on a table by the bed.
MIKE
I'll let you finish. Supper will be ready soon.
She exits, pulling the door closed. Theodore picks up the photograph, sinks down on the bed to gaze at it.

+INSERT OF PHOTO
-- a boy of perhaps 15, innocent, smooth-faced, winsome. Something about him reminds us of Brian.

+RESUME
Theodore stares at it a long time, lost in memory and despair.
Suddenly a loud THWACK! from outside startles him. He looks out the window...

+VIEW THROUGH UPSTAIRS WINDOW - DAY ONE
Looking down on Brian and Sully as they approach a tree ring target where Sully's tomahawk is stuck very near the center.
BRIAN
Gonna be hard to beat that...
Sully pulls the tomahawk free, hands it to Brian.
SULLY
Bet you can do it.

EXT. HOMESTEAD - DAY ONE
Theodore comes out, with Mike, holding Katie, right behind. Brian takes aim at the target, glances at him.
BRIAN
Watch this, Uncle Teddy.
He lets fly the tomahawk...
...which hits close to the bulls' eye. Sully and Mike smile.
BRIAN
(pleased)
How 'bout that?!
THEODORE
Yes, well....
SULLY
(teasing Brian)
Tryin' to show me up in front a your great-uncle?
Brian laughs, retrieves the tomahawk and holds it out to Theodore.
BRIAN
Here -- wanna try?
THEODORE
My hands have never held a weapon, and they never shall.
MIKE
Pacifists believe all violence is wrong, Brian.
Sully takes the tomahawk from Brian.
SULLY
(good-naturedly)
This ain't violence. It's just a friendly contest.
THEODORE
(mildly)
Yes, but to what end?
Sully falls silent, glances at Mike. Seeing Sully's reaction, Theodore quickly backpedals:
THEODORE
Do forgive me. I'm afraid musicians can be absurdly protective about our hands.

INT. HOMESTEAD - NIGHT ONE
We come in on Mike, Sully, Brian, and Theodore finishing dinner. (Katie upstairs asleep). Conversation isn't coming easy.
BRIAN
Can I be excused? I gots lots a' homework.
MIKE
Of course.
He takes his plate into the kitchen and goes upstairs. There's an awkward lull -- which Mike attempts to fill.
MIKE
(to Sully)
Matthew mentioned you got a telegram from Welland Smith.
SULLY
Bad news. The railroad's plannin' a spur line right through the middle of the Red Rocks.
MIKE
(sympathetic)
Oh, Sully.
SULLY
Fixin' to sell land, open it up for homesteadin'.
MIKE
That will ruin it.
THEODORE
Ruin what?
MIKE
A valley with beautiful rock formations, outside of town. Sully has been working to secure the area as a national park.
THEODORE
It is very beautiful country around here.
SULLY
Pretty country that won't be pretty for long 'less we do somethin' to save it.
THEODORE
How do you propose to do that?
SULLY
Stop the railroad.
THEODORE
(surprised)
I thought the railroad was improving life on the frontier.
SULLY
Depends on how ya look at it.
THEODORE
Surely progress is inevitable.
SULLY
Inevitable ain't necessarily good.
Seeing the conversation veering onto a precarious course, Mike tries gently to steer it back on track.
MIKE
I'm sure you'd agree, Uncle Teddy, it's also important to preserve the natural beauty of the land for future generations.
THEODORE
Of course, the glories of nature, I do agree. But what of the glories of civilization -- art, literature, music? Take a young man like Brian. Any father would want those opportunities for his son.
Tension fills the air as Sully steadily eyes him, falls silent.
MIKE
(quickly, rising)
I'll get dessert.
Mike removes the supper plates and disappears into the kitchen. After an uncomfortable beat, Theodore clears his throat, tries to put it diplomatically:
THEODORE
I see you're a man of principle, and I respect that.
SULLY
I'd say the same 'bout you.

INT. KITCHEN
On Mike, spooning out cobbler, overhearing --
THEODORE (O.S.)
I suppose what it amounts to is...

+RESUME SULLY AND THEODORE
THEODORE (CONT.)
...which offers more promise for the future of a young man like Brian -- protecting a lovely bit of wilderness, or making way for museums and concert halls?
Sully remains silent. He knows what he'd say, but he isn't sure about Mike.
SULLY
Guess that's for Brian to decide.
A beat.
THEODORE
(pointedly)
Yes. It is.
Their eyes lock.

INT. KITCHEN 23C
CLOSE ON MIKE -- a frown on her face as she listens to the two men she loves so much struggling to get along.
FADE OUT
END OF ACT ONE

ACT TWO
FADE IN:

EXT. HOMESTEAD - DAY TWO
Sully is hitching up the wagon. Mike has been filling him in on Theodore.
SULLY
And so -- your uncle moved away from Boston?
MIKE
Yes, after Carleton died.
(remembering)
The Boston abolitionists needed recruits, and Carleton signed up -- against his father's wishes. He left the next day.
She grows quiet, remembering the cousin she loved.
MIKE
He was killed the second day at Gettysburg. Uncle Teddy went down by train, walked the battlefield for hours, searching until he found his body.
She pauses, imagining the horror of that experience.
SULLY
S'enough to make anybody into a pacifist.
MIKE
Oh, he was already a pacifist as far back as I can remember.
SULLY
S'pose he wonders what you're doin' in a place like this.
MIKE
On the contrary -- he loves the homestead. He told me so himself.
SULLY
I meant, what he said 'bout Brian -- an' about art an' music.
Mike quiets, sensing Sully's hurt.
MIKE
Be patient with him, Sully. I know his ideas are different, but that's because he comes from a different world. It's just that he cares so very much.
Sully isn't so sure -- but he'll do it for her.

INT. GENERAL STORE - DAY TWO
The Reverend walks tentatively across the store, from wall to counter, his stick held out in front of him. He is counting steps.
REVEREND
Nine, ten, eleven, twelve...
Loren watches anxiously as he finishes sweeping the floor. He's a bundle of nerves.
REVEREND
Thirteen, fourteen.
(touching counter for security)
Fourteen steps across.
LOREN
(setting broom down)
Whadya know? - same as before.
(kindly)
Why don't ya take a rest?
REVEREND
I've got to practice gettin' around on my own.
MIKE (O.S.)
Good morning -- !
The Reverend swings around toward the sound of her voice --
LOREN
Watch it -- !
-- but as the Reverend turns, the cane catches a glass jar filled with candy and sends it crashing to the floor.
REVEREND
Oh, I'm sorry...
Loren grimaces, silently counts to ten as Mike and Theodore step into the shot. The Reverend looks around helplessly, distressed over the accident. Mike reaches for the broom.
MIKE
Here, let me help...
LOREN
No, no, I'll do it.
(glances at Reverend)
I hear Grace is servin' rhubarb pie today. Maybe you and your uncle would like to take the Reverend over to have a piece.
REVEREND
(confidence shaken)
I -- I'd rather not just now, thanks.
MIKE
Actually, I'm here to walk you over for your appointment to examine your optic nerve. I want to see if the swelling has gone down.
LOREN
Good idea.
Loren stoops to clean up the candy and broken glass. Meanwhile Theodore has turned to examining the eclectic assortment of goods on the shelves.
MIKE
Are you coming with us, Uncle?
THEODORE
If you don't mind, I'll stay and look around a bit.
Mike leads the Reverend out. Theodore sidles closer to where Loren is cleaning up.
LOREN
(glancing up)
If there's anythin' I can help you with, just holler.
THEODORE
Thank you.
LOREN
She's somethin', that niece a yours.
THEODORE
Yes, isn't she? And her husband, Sully -- do you know him well?
LOREN
He use ta be married to my daughter Abigail.
THEODORE
I didn't know that.
An unspoken question in the air.
LOREN
She passed away.
Theodore softens -- sharing the pain of another bereaved father.
THEODORE
I'm sorry. How tragic for you.
LOREN
(sorry he got into it)
Yeah.
Loren goes back to his cleaning up. Theodore pretends to be interested in a box of cigars on the counter.
THEODORE
(beat)
Sully is an interesting character. Rather unconventional, wouldn't you say?
LOREN
(this explains everything)
Lived with Indians, y'see.
THEODORE
(he didn't know)
Ah. I believe Michaela wrote he's an Indian agent?
LOREN
He was. There was -- trouble. It's a long story.
THEODORE
When I arrived, he was just getting out of jail -- ?
LOREN
Oh yeah, that was somethin' else. Somethin' 'bout a dam.
THEODORE
A dam -- ?
LOREN
Yeah. Tryin' to hijack dynamite.
THEODORE
Dynamite?!
But Loren has already turned to a customer who has entered --
LOREN
Ah, Miz Hathaway -- I got some new calico in....
OFF Theodore's look of concern --

EXT. MEADOW - DAY TWO
School is letting out. Brian spots Theodore waiting for him, hurries over.
BRIAN
Uncle Teddy -- !
THEODORE
I was thinking this might be a good time for a piano lesson.
BRIAN
Sure, as long as we're done by four o'clock. Me an' Sully are...
THEODORE
(gently correcting)
Sully and I.
(apologetic)
Forgive me for interrupting, but the way we speak reflects our breeding. As gentlemen, we would say 'Sully and I'. That way no one will think us crude or illiterate.
Brian reflects on it for a moment.
BRIAN
Like I was sayin', Sully and I are goin' out to the reservation at four o'clock.
THEODORE
The Indian reservation?
BRIAN
Yeah, ya see, Sully can't go inside.
THEODORE
Why not?
BRIAN
He had some trouble with the army and they won't let him in. So I gotta go in for him to take in stuff for Cloud Dancin'.
THEODORE
He sends you in there, with Indians and soldiers? All by yourself?
BRIAN
(proudly)
Yeah.
OFF Theodore, his concern escalating another notch --

INT. CHURCH - DAY TWO
Brian is at the piano, playing. Theodore stands behind him, his concerns momentarily swept away by Clementi. As the sonatina comes to an end --
THEODORE
(eyes glowing)
You have a gift.
BRIAN
(shy)
Thanks.
THEODORE
(genuinely excited)
Brian, I'm very serious. You play the inner music. That's not to say your technique is anywhere near what it could be. But one can learn that.
He's already imagining Brian's career as a concert artist.
THEODORE
I have an idea. Why don't you and I give a recital? Here, in the church, before I leave for San Franciso. A surprise for your mother.
BRIAN
A recital?
THEODORE
Why not?
Brian grins, delighted.
BRIAN
Can we play that duet you and Ma were playin'?
THEODORE
(disarmed, charmed)
If you like.
He sits down, plays a few bars, his mind still racing ahead.
THEODORE
A shame, really, that you can't fully appreciate the richness of the harmony on this tired old instrument.
BRIAN
I got an idea....
SMASH CUT TO:

EXT. GOLD NUGGET - DAY TWO
Theodore and Brian outside the saloon door.
THEODORE
(skeptical)
The 'Gold Nugget' - ?
BRIAN
(pushing toward door)
Yeah, they just opened. They got a brand new piano.

INT. GOLD NUGGET - DAY TWO
(Note: This will be our first look at the newly-refurbished saloon.)
Theodore and Brian enter. Taking a moment to look around...

+REVEAL OF THE GOLD NUGGET - THEIR POV
MOVING SHOT over the posh drapes, new wallpaper, brass lamps, Hank grinning behind the gleaming bar...the saloon girls, a trifle upgraded and their customers...Horace, dejected and alone, drowning his misery...ending on the softly oiled piano.

+BRIAN AND THEODORE
exchange a conspiratorial look.
THEODORE
(whispers to Brian)
Perhaps we won't mention this to your mother.
Brian nods solemnly.

+WIDER ANGLE
HANK
Help ya, gentl'men?
BRIAN
(speaking like one)
My Uncle Teddy and I --
(proud smile)
-- wondered if we could play your piano?
HANK
(hesitating)
Well...
(to Brian)
...I don't think his music's quite in line with my customers' taste.
Theodore drifts over to the piano, lifts the cover, brushes a loving hand over the softly gleaming keys.
HORACE
(looking around)
I don't see anybody else waitin' to play.
HANK
Nah, I don't think so.
BRIAN
(not giving up)
He played for kings and queens all over the world, and you don't wanna hear him?
HORACE
Let him play.
Hank shrugs.

+ON THEODORE
Already seated at the piano. His hands float up, poised in mid-air over the keys. An expectant hush --

+REACTION SHOTS
Saloon girls and customers roll their eyes, waiting. Brian, not sure what to expect, slightly nervous --

+THEODORE
CLOSE ON HANDS, attacking the keys, launching into a spirited, rollicking dance-hall tune.

+CROWD
comes to life, grinning, clapping hands in time to music, feet stomping on the floor. One of the girls gets up to dance, grabs Horace and spins him around the floor. Brian, beaming proudly, looks up as Hank approaches.
HANK
Hey, he's not bad.
The door opens and Sully steps inside beside Brian.
SULLY
(over music)
Brian -- ?
Brian turns, sees Sully. The music abruptly stops, as Theodore rises to stand behind Brian.
SULLY
I been waitin'. Thought me and you had plans.
BRIAN
Sorry, Sully -- I forgot.
THEODORE
It's my fault. We became swept up in the music and lost track of the time.
SULLY
(nods)
Ya ready? Let's go.
Brian and Sully leave. Theodore frowns as his embarrassment is replaced by misgiving.

EXT. GENERAL STORE - DAY TWO
Loren moves the last boxes of vegetables into the store. He closes the door, flips the sign to "CLOSED".

INT. REVEREND'S ROOM - DAY TWO
Through the half-open door we see Loren pass by, notice something inside, and stop. He pushes the door wider --

+VIEW INTO REVEREND'S ROOM (LOREN'S POV)
The Reverend, standing at the dresser, obviously frustrated, is fumbling over the clock.

+CLOSE ON REVEREND'S HANDS
holding a small key. Trying to fit the key into the little hole of the winding mechanism. Like threading a needle in the dark.
LOREN (O.S.)
Reverend - ?

+WIDER ANGLE
The Reverend stares straight ahead, his face twisted in concentration and helpless rage.
REVEREND
(agitated)
Why do they have to make it - so - impossible?!
Loren hurries over, tries to take the key from his hands.
LOREN
Here, lemme do it for ya.
But the Reverend angrily pulls the key away. Loren looks at him, surprised, a little hurt.
LOREN
(grumbling)
I was only tryin' to help.
REVEREND
(irritably)
I don't want help.
The Reverend immediately regrets his ill-tempered remark -- but can't say so. He half-turns toward Loren. The clock begins to CHIME. The Reverend listens carefully, as it chimes five times.
REVEREND
Five o'clock.
Loren suddenly gets it - that's why he wanted his clock, so he could hear what time it is. He softens, glances at his own pocket-watch.
LOREN
Time for supper. Ya comin'?
REVEREND
No.
Loren starts out, turns, looks back sympathethically.
LOREN
I'll bring ya back some meatloaf.

INT. CLINIC - DAY TWO
Mike is mixing medicinal compounds when Theodore opens the door a crack.
THEODORE
May I interrupt?
MIKE
Of course, any time.
THEODORE
Brian said he was going out to the reservation.
MIKE
Yes, he often goes with Sully.
THEODORE
But - the Indians and the army - isn't it a dangerous situation?
MIKE
I would say difficult, not dangerous. Our closest friend lives there.
She begins to collect her things, repacking her doctor's bag. Theodore watches her a moment, not at all reassured.
THEODORE
Michaela, dear, I don't doubt Sully is well-intentioned, but I wonder if he isn't rather impulsive at times, misguided, even. I haven't wanted to pry about exactly why he was in jail -- but it does cause me some anxiety with regard to Brian.
MIKE
(surprised)
You're not suggesting Sully would do anything to endanger Brian?
THEODORE
(caught, backing off)
I assure you I didn't mean to imply that.
But he did, and they both know it. Mike decides to let it pass.
MIKE
(warmly)
It's wonderful that you take such an interest in Brian. In many ways he reminds me of Carleton.
THEODORE
Yes. Talented. Bright. Confident.
He turns toward the window, trying to hide emotions suddenly near the surface. His vulnerability surprises her.
MIKE
(softly)
I suppose one never stops grieving for a child.
He stares out, haunted by memory.
THEODORE
Not a day goes by that I don't miss him.
A beat. She moves to him, slips her arm through his.

EXT. CLINIC - DAY TWO
Sully and Brian [arrive on horseback, with Wolf at their heels, and dismount.
BRIAN
I'll be over at the general store.
SULLY
Meetcha there.
Brian starts away. Sully enters the clinic.

INT. CLINIC - DAY TWO
Mike and Theodore look up as Sully enters.
SULLY
I figured out a way to save the Red Rocks. If I can find another route for the spur line, a better one, maybe I can talk the railroad into goin' another way.
MIKE
Is there a better route?
SULLY
Cloud Dancin' and the other Indians wondered 'bout Possum Valley - just north of Cripple Creek road? Might be a little longer but it's flat, an' prob'ly cheaper to build.
MIKE
That sounds like a wonderful solution.
SULLY
I'm goin' out there tomorrow to scout it and draw a map. Told Brian he could come 'long an' help.
THEODORE
You're taking Brian out there?
(at a look from Sully)
What about his piano lesson?
Sully exchanges a look with Mike. This man tries his patience. A beat.
SULLY
S'pose we could wait a day.
(he starts for door)
Got some gettin' ready to do.
Sully exits. Theodore] turns to Mike, dismayed.
THEODORE
Surely you won't let him go?
MIKE
I don't see why not.
Theodore grows agitated and increasingly insistent.
THEODORE
(shocked)
Out into a wilderness valley? Into a confrontation with the railroad?
MIKE
I assure you, Sully would never do anything that put Brian in danger.
THEODORE
(insisting)
Michaela, please, you must reconsider.
MIKE
(taken aback)
Uncle Teddy --
THEODORE
(vehement)
I will not allow it!
Mike looks at him, astonished. He's never spoken to her like this, and she resents his irrational demand.
MIKE
Brian is our son, not yours.
She turns her back and hurries into the clinic as we:
FADE OUT
END OF ACT TWO

ACT THREE
FADE IN:

EXT. GAZETTE - CLOSE ON NEWSPAPER IN WINDOW - DAY THREE
Headline reads: "DAM DYNAMITING COMPLETED".

+ANOTHER ANGLE
Theodore stands at the window, reading the article.
HANK (O.S.)
Mornin', Maestro.
Theodore turns to see Hank and Jake walking by.
THEODORE
Ah, good morning. I was just wondering -- is this the same dam that Sully was involved with?
JAKE
Yeah. He went up there to try an' 'persuade' the company to change their mind.
Hank and Jake laugh.
THEODORE
How is it Sully ended up in jail?
HANK
Things kinda got outa hand.
JAKE
Wasn't Sully's fault, though. Th'other guys started the shootin'.
THEODORE
The shooting - ?
JAKE
Yeah, big shoot-out.
OFF Theodore, now deeply alarmed --

INT. CHURCH - DAY THREE
At the piano, Brian is playing a Bach invention. He's doing surprisingly well -- until he hits a wrong note and stops.
THEODORE
It's all in the fingering, here --
(pointing to music)
five, one, two, one, three. Try it again.
Brian plays the passage again -- correctly.
THEODORE
That's right -- exactly.
Theodore stops Brian.
THEODORE
There's a brilliant career waiting for you.
BRIAN
Ya mean - like you?
THEODORE
If you want it.
BRIAN
Playin' music? Makin' people feel what you feel?
THEODORE
Yes, that's right. But you can't get it here. You would need the proper training. In New York.
BRIAN
(awed)
New York! But -- who would teach me?
THEODORE
I would. I'd be happy to.
BRIAN
But, where would I live?
THEODORE
You can stay with me. Of course, you'd have to work very hard. But we'd go to the theater, and to the museum, and in summer we can have picnics in Washington Square...
Brian's eyes sparkle just imagining such a life. Theodore waits, watching approvingly, as it sinks in.
THEODORE
But you have to want it, more than anything. You must commit your life to music.
Brian isn't sure what this means.
BRIAN
What about Ma and Sully and Katie?
THEODORE
You can come back and visit them.
(a beat)
Think about it. We can talk more at tomorrow's lesson.
BRIAN
I won't be here. We're leavin' for Possum Valley in the mornin'.
Theodore smiles patiently.
THEODORE
But the recital is the following day. If you miss the final rehearsal, you won't be ready.
BRIAN
Maybe we could have the recital the day after.
THEODORE
I'm afraid I'll be gone by then.
BRIAN
I already told Sully I'd go with him.
THEODORE
This is what I mean by a commitment. You have to make a choice. You can go to Possum Valley any time. But the recital - this is a step toward your future.
OFF Brian, troubled and confused --

INT. GENERAL STORE - REVEREND'S ROOM - NIGHT THREE
The Reverend is sitting on the bed, taking off his shoes. Loren enters with tea on a tray, sets it next to the bed.
LOREN
Here we are...
He puts a cup of tea in the Reverend's hands. Stirs sugar into his own cup.
LOREN
Old habit I picked up from Dorothy. Had to have her cup a tea 'fore turnin' in.
Loren starts to put sugar in the Reverend's cup but stops himself. He puts the sugar bowl back down on the tray.
LOREN
If you want sugar, it's here.
The Reverend feels for the tray, finds the sugar bowl, takes a spoonful and steers it toward his cup, spilling about half along the way. Loren bites his tongue.
REVEREND
It must have been lonely when Dorothy moved out.
LOREN
Naw.
(sips his tea)
Well, it does get kinda quiet 'round here after closin'.
REVEREND
(commiserating)
Try spendin' the night in an empty church.
They drink their tea in companionable silence, grateful for each other's company.
LOREN
Shame it didn't work out with that lady friend a while back. The teacher - ?
REVEREND
Well, I always believed the right girl's out there somewhere. If I was patient, she'd come along one day. Now --
He breaks off, unwilling to indulge in self-pity. His words set Loren to thinking.
LOREN
Such a thing as bein' too patient, y'know. If ya hold on too long, ya forget how to let go.
They've finished their tea. Loren puts the cups back on the tray.
REVEREND
Thank you. That was delicious.
LOREN
It's no trouble you bein' here. You can stay as long as ya want.
REVEREND
That's very kind of you, Loren.
Loren starts out with the tray. The Reverend begins to undress, slipping down his suspenders. At the door, Loren turns.
LOREN
Want me ta leave the lamp burnin'?
REVEREND
What for?
A beat, as Loren realizes: for the Reverend, it's always dark. He extinguishes the lamp. IN BLACK, the clock begins to CHIME --
LOREN
Well, good night.
REVEREND
Good night, Loren.
Mingled with the CHIMES, we hear Loren's FADING FOOTSTEPS.

EXT. HOMESTEAD PORCH - DAY FOUR
Mike and Brian take turns churning butter. (Katie asleep in carriage.)
BRIAN
(churning)
Ma - did ya ever think that Sully was crude or illiterate 'cause of how he talks?
MIKE
What makes you think that?
BRIAN
I was just wonderin'.
MIKE
It's important to learn correct English, but there are many ways of communicating. How one speaks isn't nearly as important as the kind of person one is.
BRIAN
Uncle Teddy says it reflects your breedin'.
Mike takes over churning. She can see Brian is wrestling with something -- and waits.
BRIAN
He said I could learn to give concerts, like him, if I want to bad 'nough. But I have to choose between that an' goin' with Sully to Possum Valley.
MIKE
(stunned)
What - ???
BRIAN
See me and him - he and I - are plannin' a recital.
MIKE
A recital?
BRIAN
It's s'posed to be a surprise for you. But if I go with Sully, I won't be ready.
Mike stops the churn, striving to remain calm.
MIKE
(suspicious)
What else did Uncle Teddy say?
BRIAN
He wants to give me lessons an' teach me. He says I can stay with him in New York.
Mike is deeply disappointed in her beloved uncle -- and suddenly furious. Fighting to keep her anger to herself:
MIKE
Going to Possum Valley will not keep you from becoming a musician, if that's what you decide to be. As for the recital, perhaps you can't do both. But it won't be the last time you can play for me.
Brian looks across at --

+BARN - BRIAN'S POV
-- as Sully leads a packhorse loaded with surveying gear out to where their horses are saddled and waiting.
SULLY
(calling to Brian)
Ready to go?

+RESUME PORCH
Brian looks back at Mike.
MIKE
Whatever you decide, Sully and I will respect your decision.
Brian deliberates briefly. Then he smiles, vastly relieved.
BRIAN
(calling back)
Comin', Sully.
He kisses Mike goodbye. She gets up, follows him off the porch, and waves as they mount up and ride off.
SULLY
We'll be home tomorrow.
MIKE
(waving)
Good luck.
A look of determination settles over her face. She pulls off her apron and looks toward town -- then leans down to pick up Katie.
MIKE
Come on, little one. You can go see your Auntie Dorothy.

INT. CHURCH - DAY FOUR
Theodore, in shirtsleeves, is lost in an impassioned Beethoven sonata, pouring his heart out in a passage that seems to carry all the sorrow and grief in the world.
Suddenly Mike is standing in the doorway. She moves toward him, not caring that she's interrupting a dazzling performance. He looks up, startled to find her in front of him.
MIKE
(angry)
How could you do that to Brian?
He composes himself, his face settling into a placid stoicism.
MIKE
I've never known you to be cruel.
THEODORE
Be sensible, Michaela. I am in a position to offer Brian opportunities for his life that he will never have here.
MIKE
Perhaps. But that isn't the point. The point is, you're interfering between us and our son. Why, I cannot fathom.
THEODORE
Of course you can, but you refuse to see it.
MIKE
Are you criticizing the way we're caring for our children??
THEODORE
I certainly shall, if you allow him to go off on this dangerous undertaking with Sully.
MIKE
They've already gone.
Theodore leaps up, adrenalin coursing.
THEODORE
When?
MIKE
This morning.
He throws on his coat and bolts for the door.
MIKE
Uncle Teddy - ? Wait!

EXT. CHURCH - DAY FOUR
Theodore strikes out toward town, as Mike runs out.
MIKE
What are you doing?
THEODORE
Which way to Possum Valley?
MIKE
Uncle Teddy - be reasonable.
THEODORE
If you won't tell me the way, I'll find someone who will.
MIKE
(pleading)
Don't go out there --
THEODORE
(thundering)
I won't stand by and let this man kill Brian, the way your father killed Carleton!
Mike is stunned and speechless, as he rushes off.

EXT. POSSUM VALLEY - RUGGED TERRAIN - DAY FOUR
Sully bends over a surveyor's transit, taking a reading. Brian stands a distance away, holding a stick and a notepad.
SULLY
(calls to Brian)
Twenty-two degrees, thirty minutes.
Brian makes a note on the pad.
Sully folds the tripod legs together, shoulders the transit, and picks up his knapsack.
BRIAN
What's next?
SULLY
Take a readin' on th' other side of the gully.
They head toward --

+EDGE OF NARROW GULLY
Brian stands looking down. It's not very deep, but it's steep enough to make getting across with their gear a problem. Sully starts across a fallen log spanning the gully. Brian hesitates.

+NEARBY - ON RISE OVERLOOKING GULLY
Theodore rides into view. He reins his horse to a stop.

+SULLY AND BRIAN (THEODORE'S POV)
Sully, balancing his gear on his shoulder, walks across the makeshift log 'bridge'. Once on the other side, he motions Brian to follow. Brian steps onto the log.

+POSSUM VALLEY ROAD
Mike rides Flash at a gallop along the road.

+ON LOG
Brian confidently putting one foot in front of the other, moving across.

+ANOTHER ANGLE - THEODORE'S FACE
Theodore, seized with panic --
THEODORE
(yelling)
Bri-an!!
-- as Mike rides up next to him and sees Brian.

+RESUME LOG
Hearing his name, Brian stops, turns his head to see what the commotion is -- and, as he twists around, he loses his balance --

BRIAN
Sully - !

+ANGLE - MIKE
MIKE
Brian!

+CLOSE ON BRIAN
-- as he tumbles off the log into the gully, his leg crumpling under him as he rolls and tumbles down the steep bank through the rocks and brush.

+ANOTHER ANGLE
Sully looks down, sees Brian lying in a heap, clutching his leg and moaning. Sully starts down the gully, half climbing, half sliding, toward Brian.

+NEARBY
Mike moves quickly to the edge of the gully. She starts down the steep bank, half-slipping and sliding, toward Brian. Theodore, pale, glistening with sweat, remains rooted in place, looking down.

+IN GULLY
Brian is bleeding from a gash in his head, still holding his leg. Sully reaches him a few seconds before Mike.
BRIAN
(dazed, to Sully)
Sorry -- I lost my balance.
SULLY
Wasn't your fault.
Mike rushes to Brian's side, kneels beside him.
BRIAN
Sorry, Ma.
Mike checks his injuries as Sully watches, concerned.
MIKE
Your leg is broken. We'll have to get you to the clinic.

+ANGLE TO INCLUDE THEODORE
at edge of gully, pale, staring anxiously down at Brian.
THEODORE
Is he alright?
MIKE
I won't know how bad it is until I can examine him.
Brian holds up his hands.
BRIAN
I didn't hurt my hands.
Theodore erupts at Mike and Sully in a sudden blind fury.
THEODORE
(ranting, irrational)
What were you thinking? He could have been killed! Have you gone completely mad, both of you??
SULLY
He was doin' just fine 'til you showed up.

+ON MIKE
on her knees next to Brian, staring shocked and heartbroken at the man she's always looked up to and adored.
FADE OUT
END OF ACT THREE

ACT FOUR
FADE IN:

INT. CLINIC - DAY FOUR
Mike finishes setting Brian's leg. Sully and a subdued Theodore watch.
MIKE
It's a clean break, as I said, Brian. You're going to be fine.
BRIAN
Can I still be in the recital?
MIKE
Perhaps. We'll have to see how you're feeling.
She turns to Theodore.
MIKE (CONT.)
May I have a word with you?

EXT. CLINIC -DAY FOUR
Mike faces her uncle, angry and bewildered, not knowing how to begin.
MIKE
I don't know what to say to you.
THEODORE
Say what you mean.
MIKE
I always held you in such esteem. My godfather. That man -- the man I knew? -- he would never be acting this way.
He looks at her, nursing a deep hurt. Turns away.
MIKE
What did you mean this morning when you said Father killed Carleton?
His nerves raw, the long-hidden anguish comes spilling out.
THEODORE
I raised Carlton to abhor violence. I taught him that war would solve nothing.
MIKE
Apparently he disagreed with you.
THEODORE
(bitterly)
No, your father disagreed with me. Carleton went to him, a man he revered and trusted, to ask his advice. Do you know what your father told him?
MIKE
My father would have spoken the truth from his heart.
THEODORE
He told him that any man who abhored slavery and loved freedom should do whatever he could to end it.
(grim, intense)
The next day, Carleton was in uniform. I begged him not to go. It was the last time I ever saw him.
MIKE
(quiet)
He was a grown man, Uncle Teddy.
THEODORE
(accusingly)
It wasn't Gettysburg that killed my son. It was your father. My brother. And I'll never forgive him. Never.
Theodore marches away. OFF Mike, shocked and dismayed --

EXT. HOMESTEAD - DAY FOUR
Mike is on her knees in the garden, stabbing at the hard winter ground with her hand shovel. Sully steps in, seeing her distress.
MIKE
(distressed)
It wasn't my father who killed his son. He's let his grief turn him bitter and irrational.
SULLY
(remembering Abigail)
That kinda pain makes a man crazy.
MIKE
But he was always so fair-minded and reasonable.
SULLY
When somebody ya love dies, it ain't reasonable.
Mike quiets. She knows he's talking from experience.
SULLY
Ya blame somebody else. 'Cause who you're really blamin' is yourself.
Mike stops digging, contemplates this. There's a connection.
MIKE
I think he's using Brian to replace Carleton.
SULLY
Oughta just let Brian be Brian.
Mike's shovel CLINKS against a stone. She digs it out, regards it a moment.
MIKE
Perhaps I've been doing the same thing with my uncle.
Sully looks at her, doubtful, waits for her to go on.
MIKE
All these years, I believed he could do no wrong.
SULLY
He's human.
Mike nods slowly. It's painful to give up her cherished image of him -- but it's impossible to hang onto it.
OFF Mike, thinking through the implications of this...

INT. CHURCH - DAY FOUR
Theodore is working off his talk with Mike at the keyboard, not with showy Chopin or brooding Beethoven, but a sweet and lovely Mendelssohn serenade.
The door slowly opens, and the Reverend feels his way in with his walking stick. Theodore stops playing.
REVEREND
Please, don't stop.
THEODORE
I was just finishing.
REVEREND
I'd enjoy hearin' the rest of that. It's beautiful.
He sits down, and Theodore obliges by playing the final section of the piece. He closes the keyboard, walks out. As he passes the Reverend --
REVEREND
(sincerely)
Thank you very much.
Theodore nods. HOLD on the Reverend. We hear the door OPEN and CLOSE. He gets up, makes his way to the piano. He opens the lid, places his hands on the keys. His fingers seek out notes of a piece he half-remembers, haltingly, stumbling here and there. He stops in frustration. After a beat, he begins with one hand, slowly playing a scale, one note at a time. CROSSFADE SOUND to the clock, CHIMING...

+SHOT - CLOSE UP ON REVEREND'S CLOCK (IN REVEREND'S BEDROOM)
The hands point to five o'clock, as the CHIMES finish.

INT. GENERAL STORE - DAY FOUR
Loren flips the sign to CLOSED. He turns, finds the Reverend coming from his room.
REVEREND
It's five o'clock. Time for supper.
LOREN
(surprised)
I was just goin' over ta Grace's.
REVEREND
Mind if I come along?
LOREN
(happily)
Now that sounds like the Reverend I used to know.
The Reverend hesitates.
REVEREND
Do I - do I look all right?
Loren gives him the once-over, notices he's got his shirt buttoned wrong. Starts to lie --
LOREN
Fine, ya look just fine.
(but, on second thought...)
Aw, here, lemme help ya.
This time the Reverend willingly submits. As Loren rebuttons his shirt...
REVEREND
I was thinkin', it'd be nice to have supper together more often.
LOREN
(agreeing)
Make a habit of it.

INT. HOMESTEAD - COLLEEN'S ROOM - DAY FIVE
CLOSE ON photograph of Carleton. PULL BACK to find an open suitcase on the bed. Theodore is packing to leave. There's a KNOCK on the door. Mike sticks her head in.
MIKE
May I come in?
THEODORE
There's nothing left to say.
MIKE
(she enters)
Yes, there is.
She picks up the photo, looks at it. Hands it to him.
MIKE
Just because Carleton didn't make the choice you wanted for him doesn't mean he didn't love you.
THEODORE
(husky)
I know that.
MIKE
And you know in your heart my father loved you too. He would never knowingly have harmed you or your son.
Theodore says nothing. He lays the photo aside, closes the suitcase.
MIKE
Father didn't fail you. And you didn't fail Carleton.
THEODORE
(choking up)
I could have stopped him...
He breaks down, overwhelmed by emotion. She reaches out to comfort him.
THEODORE
(shattered)
I should have stopped him.
MIKE
But you didn't, and that's the truest test of love. Allowing those dearest to us to make decisions that disappoint us or hurt us, and loving them just the same.
Theodore looks into her imploring face, sees the forgiveness there. He softens, gently takes her in his arms.
THEODORE
Oh, Michaela, I've been such an old fool.
MIKE
(kissing his cheek)
It's time to let Carleton go.
(beat)
There's a young man waiting for you.
THEODORE
Brian -- ?
MIKE
He's gone to round up an audience for the recital.
His mind is whirling...changing gears. The recital? We SEE the performer begin to emerge. But Brian -- can he -- ?
MIKE
(with a smile)
I think he's well enough to play. And he wants to.
Theodore picks up the photo of Carleton, opens the suitcase, lays it inside, as we hear, FADING IN, a PIANO, playing the CLEMENTI SONATINA...

INT. GOLD NUGGET - DAY FIVE
Brian sits at the piano facing the quickly assembled audience, which includes Matthew, Horace, Loren, the Reverend, Hank, the saloon girls, Sully, Mike, and of course, Theodore. The music of the Clementi sonatina (heard earlier) ripples brightly through the room.

+ANOTHER ANGLE
reveals Brian's hands on the keyboard, his leg in a cast at a stiff angle below the keys.
As he finishes the piece, the audience applauds warmly.
THEODORE
Bravo!
Brian stands, grinning. Leaning on a crutch, he takes a bow. As the applause begins to quiet:
BRIAN
Ladies and gentlemen...
(waits for quiet)
...I am proud to introduce, in his farewell appearance before he leaves for San Francisco -- my great-uncle ...the world-famous ...Theodore Quinn.
Theodore rises to more applause and moves toward the piano. Brian heads for a seat next to Mike. As the applause quiets:
THEODORE
Thank you. For my first piece - Brian, will you help me, please? - a little surprise.
Brian returns to the piano, not too sure what's next. Theodore whispers something in his ear. Brian grins. As the first notes are struck, we recognize Mike's childhood duet...

+CLOSE ON HANDS
Brian plays the treble (upper part) of the simple piece, Theodore embellishing the bass. MOVE UP to their faces, as Brian grins happily at Theodore, who smiles benevolently back.

+MIKE
her eyes shining, the familiar music sweeping her momentarily back to childhood, then into the moment again to brush away a tear. As she and Sully exchange a proud smile, we:
FADE OUT
THE END



 

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